a project of cultural mapping, co-operation and internationalization

INDEPENDENTCULTURALCENTRES

The main objective of this project is to map independent cultural spaces in Spain, especially the multi-disciplinary kind, and collect relevant information on their management, organisation and programme models with the aim of promoting the exchange of experiences and cooperation between those identified as well as with other like-minded cultural spaces across Europe.

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IntroductionIndependent Cultural Centres

Truly sustainable change must go beyond the renewal of physical infrastructure and superficial image to take account of the deeper emotional and cultural forces which shape a place and its people.

Phil Wood.

If we trace back through Spanish history in search of the origin of the cultural centres that exist today, we can see the importance and historical influence that the athenaeums – spaces dedicated to scientific and literary learning – had at the time. These spaces were borne out of the initiative of civil associations, appearing from the mid-19th century up until the start of the Spanish Civil War (1936). They were an answer to the educational shortcomings of the time. Their main objective was to raise their members’ standard of cultural awareness in the arts, humanities and sciences (among other fields) through conferences, seminars, libraries, the publication of journals, leisure activities, etc. A large number of these cultural athenaeums disappeared during the Franco regime, and those which are still in use today are struggling to move with the times.

Since the end of the dictatorship and the arrival of democracy (1977) through to the present day, private and public sector authorities and institutions, particularly local governments and savings banks (cajas de ahorros), have been monopolising the cultural offer as well as the running of culture centres which in turn penalises social participation in this sector. Given the current situation, this project proposes to begin by mapping independent cultural spaces in Spain centred around contemporary thought and artistic creation – places where the public can actively embrace their cultural responsibility and go from being mere spectators to spect-actors of their own culture.

It’s worth stating here, albeit briefly, the two main terms that we work with. The first of these is that of the ‘cultural centre’, a term which is traditionally used to refer to spaces equipped to house cultural activities, especially those of an artistic nature. When stating the core characteristics of cultural centres, The European Network of Cultural Centres (ENCC) places a particular focus on the following requirements: centres should be able to provide facilities which serve their purpose; they should prioritise artistic diffusion and training

Tou Scene, Stavanger (Norway). TEH Photo Archive. >

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related activities; they should offer high quality multi-disciplinary programmes that include cross-border proposals; they should be managed in a professional manner; they should be funded by the public sector.

The second term we make reference to is that of ‘independence’, which is understood as the freedom to govern oneself and the absence of outside intervention. Independence can of course reveal itself in a variety of situations, for example, the economic or political. What we call the ‘artistic field’ is generally associated with experimental proposals, creative freedom, innovation, and, of course, renovation. Furthermore, it’s not just about the arts: the independent sector is characterised by its social and political commitment.

By addressing these two terms, it makes it easier to understand the three characteristics that set independent cultural centres apart from other types of cultural centres. If we take the previously referred to definition of independence as a starting point, we can identify the first of the three characteristics of the independent cultural centres as the socially and politically engaged citizen initiatives that assume their artistic and cultural responsibilities within the context of promoting the participatory model of democracy. From this perspective, the independent cultural sector is a stage for innovation where citizens and civil society are the true protagonists.

The second unique feature of these independent cultural centres refers to the artistic practices they offer. These practices are recognised for being not only multi-disciplinary but also trans-disciplinary – in other words, they are known for their collective dimension; for equating artistic production with the more traditional diffusion of cultural institutions; for the importance they attach to process over result; for considering both professional and amateur artistic practices; for focusing not only on artistic matters but also social, economic and ecological ones.

These independent cultural centres, which are in essence vastly heterogeneous, are promoters of a living and breathing culture. This is represented not only in the stages that make up the creative cycle – that is, creation through to diffusion – but also in the training related to artistic-orientated fields like the educational, socio-political and environmental. For this reason, it is the job of the independent cultural centre to find ways to rejuvenate the artistic, educational, social and economic systems – and even public spaces.

A38, Budapest (Hungría). TEH Photo Archive. 3

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This brings us to the third characteristic: the centres’ relationship with public space. If this is defined as the opposite of a private or restricted space, it’s also wrongly assumed that it refers to a space governed by a public or administrative department, whereas, in fact, it should be a place open to the community where people can freely participate with one another, and, more importantly, be a space of collective and shared responsibility. Even though cultural centres need to be able to provide some suitable facilities, independent centres don’t put as much effort into creating physical spaces as they do in staging public cultural gatherings. It’s clear that what’s really important for these cultural centres are the relationships they build with their users, neighbours, collectives and organisations. Independent cultural centres therefore operate in public urban spaces, defined as ‘public perimeters’ of artistic and culture interest in its broadest sense.

Taking into consideration everything set out above, the aim of this project is to make a modest contribution towards the cultural descentralisation process by encouraging citizen initiatives and co-operation between national and international independent agents, with the main goal being to contribute towards strengthening the public domain.

New Times New Models Conference. Pekarna Magdalenske Mreze Cultural Centre, Maribor (Slovenia). Photo: Maruska Bratusa.

1. To map the existing independent cultural centres in Spain and compile information on their management, organisation and programme models

2. To promote and increase visibility of independent cultural centres in Spain both nationally and internationally via the website:

www.culturaindependiente.com

3. To foster the exchange of experiences and promote cooperation among the independent cultural centres that have been identified.

4. To encourage relations with other independent cultural centres across Europe and with the network of independent cultural centres Trans Europe Halles.

Specific Aims

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Despite the diversity which caracterises these cultural spaces, the network of independent cultural centres Trans Europe Halles has established the following criteria for admitting new members:

1. Independent and not-for-profit centre arising from a citizen’s initiative with a legal structure.

2. Multidisciplinary artistic policy encouraging interaction between art forms, with an emphasis on comtemporary art.

3. Based in user-friendly buildings preferably originating from a commercial or industrial heritage.

4. High-quality artistic programme of at least regional significance with an awareness of contemporary culture, ranging from local to international art.

5. Awareness of the social and political aspects of cultural actions with an Equal Opportunities Policy or commitment.

Definition

< Halles De Schaerbeek, Brussels (Belgium). TEH Photo Archive. 6

TRANS EUROPE HALLES. EUROPEAN NETWORK OF INDEPENDENT CULTURAL CENTRES

The Trans Europe Halles network was founded in Brussels in 1983. Its mission is to encourage co-operation and intercultural exchange for the development of cultural creation and production, offering a forum for the exchange of ideas, collaboration and mutual support. TEH is a founding member of Culture Action Europe (previously The European Forum for the Arts and Heritage) as well as an active member of the Platform for Intercultural Europe, a civil society organisation committed to the promotion of intercultural values. The TEH headquarters are located in Lund, Sweden. For further information: www.teh.net.

ARTFACTORIES/AUTRE(S)PARTS Since november 2007, Artfactories developped its resource platform in close collaboration with Autre(s)pARTs, a group of united actors around the relationship people, art and society. Now, the organisation Artfactories/Autre(s)pARTs is a common platform for reflection, research and action, transmission and solidarity for the development of independent cultural centres around the world that organize their practices and experiments around the relationship between arts, territories and populations. For further information: www.artfactories.net.

SPANISH AGENCY OF INTERNATIONAL DEVELOPMENT COOPERATION (AECID)

The AECID is an agency under the aegis of the Ministry of Foreign Affairs and Cooperation of Spain which manages and co-oordinates the proportion of the Spanish government’s budget allocated to cooperation for development. This project is backed by a subsidy from the AECID to promote ‘The Internationalisation of Spanish Culture’. The objective of this funding is to support citizen initiative activities and projects which contribute towards the internationalisation of Spanish culture with regard to promotion and cultural co-operation, with a specific interest in projects that promote civic values and contribute to the creation of sustainable networks.

Partners

7< Mejeriet Cultural Centre, Lund (Sweden). Trans Europe Halles Headquarters. TEH Photo Archive.

This project is carried out in collaboration with the European Network of Independent Cultural Centres Trans Europe Halles and Artfactoires / Autre(s)pARTs. It is funded with support from the Spanish Agency of International Development Cooperation (AECID).

This publication forms part of a project funded by the Spanish Agency of International Cooperation for Development (AECID). The content herein is the sole responsibility of the authors and does not necessarily reflect the views and opinions of the AECID.

José Luis Rodríguez Fernándezinfo@culturaindependiente.com

+34 91 307 0223+34 685 60 58 98

www.culturaindependiente.com

Photo: José Luis Rodríguez